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University of Illinois Library 


cT 34 1970/ 


L161—H41 


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RESEARCH 
DESIGN IN NATURE 


FIELD MUSEUM OF NATURAL HISTORY 
SCHOOL OF THE ART INSTITUTE 


1924 = x ao 9, wre CANO! BR x s 1925 


JOHN GILBERT WILKINS, B. S. 
EDITOR AND PUBLISHER 


cid an he 
COPYRIGHT 1926 
BY JOHN GILBERT WILKINS _ 


PRINTED BY FIELD MUSEUM PRESS 


y si 


DEDICATED TO 


The students in my Research Classes. 
Special mention is given to Leona 
McGill, Jean Goodwin, Enid M. | 
Combs, and Mildred Larson; also to 
Douglas A. Hall, Paul A. Brosee, 
and Flenry J. Meloy. 


Joun GiLBERT WILKINS. 


633939 


ACKNOWLEDGMENT 


I am indebted to Director D. C. Davis and 
the Staff of the Field Museum for the per- 
sonal interest and assistance they have given 
in the production of this work. 

The portfolio, with the exception of the 
color plates, was printed in the Museum 
press rooms, and is an example of the high 
standard of their work. Photogravure is 
possibly the best method of reproducing the 
- soft and pleasing effects of pencil renderings, 
and here, Mr. A. A. Miller, who is in 
charge of this department, has undoubtedly 
proved himself a master of his art. Mr. C. 
A. Carpenter, who is in charge of the 
photography department, in like manner 
displayed his usual care in preparing the 
photographic plates. No expense nor time 
has been spared in bringing out the most 
subtle effects of the original drawings. 

I am also indebted to Dr. Wm. E. Gerhard, 
assistant curator of entomology, for his 
assistance to me as counsel. 


Joun GILBERT WILKINS. 


RESEARCH——-DESIGN IN NATURE 


Single Volumes..." Price $25.00 
PLATE CONTENT 


Design in Nature 


i 
Le 


VI. 
VII. 
VIII. 
TX 
oo 

> Sip 
TTS 
XIII. 


12 Subjects 


Manuscript Content 


Photogravure Process..... 
. | oa Sack of first plate..... 
plates in color—posters. . 
Anima s Offset Printing Process on 
back of Plate II 49....... 

Insects 


x 4 plates in color—posters.. ) 
Birds Munsell Color System on 
ee? back of Plate IV 49...... - 


8 plates in color—posters. . 
Fish . OR i sl pce hate | 

V JOGO ea ce oweeras 
Shells 
Frogs ; 
Reptiles pA ie tee 
Precious Stones. gas 
Rock Coloration Ha | 
Leaves : ; . 
Flowers . et ers) 
Spirals 


Primitive Design 


XX. 
XXI. 


XXII. Indian Beadwork . (j,23%'} . 
XXII. Indian Textiles 
XXIV. Javanese Batik. 
XXV. Melanesian Design. 
XXVI. Masks 
7 Subjects 3 Plates in Color 
The two last sheets in Portfolio— 
Photostat Process Method of reproduction is explained 
on the back of both sheets. } 
toes Rubbings from wood 
Cover Linings | cuts—South Sea 
slands 
19 Subjects .. tail yrete | 


Pottery 
Indian Basketry. 


26 Plates in Color 


PLATES SHEETS 


The work of 84 artists, and over 3000 designs are shown in this portfolio. 


The work is printed in five different processes—with each process explained. 


Posters printed in line and color, with Progressive Proofs. 


S41 d8 ah 
{Oeeeet eG 
Cee 3 
40+5.... 23 
54 20 
01 Ol 
03 03 
01 
arf ii 
25 07 
17 06 
08 02 
265-48....152 
04 12 
23 14 
22 19 
04 04 
01 OL 
03 03 
04 04 
81 54 
02 
02 02 
gee 916 


RESEARCH — DESIGN IN NATURE 


In Two Volumes....Price $14.00 Each 
PLATE CONTENT 


VOLUME I 
I. Manuscript Content i PLATES SHEETS 
[On back off Erecess eisvete 9 
5 in back of first plate..... 
8 pl lor— 
II. Animals. Gere ee oy” aaa is 54-205, 46 
back of Plate I1 49....... = 


4 plates in color—posters. . 


IV. Birds . . . . (Manel cir seem cal x eed el 


back of Plate IV 49....... 


8 plates in color—posters. . © ) 
ih ae ae eae SL ee 
WES SAUL oat: cicero Q 

* 3 “Lee ie 
3 Subjects (ied shee) | 145+8....102 
Photostat: Process iit pare ot ies i ee eee 1 

Rubbings from wood 
Cover Linings | cute—South Sea | O2 alee 
155 il OS 

PLATE’ CON LENT 
VOLUME IIT 

I. Manuscript Content PLATES SHEETS 
All of the Remaining Subjects . ; ; ; : a 9e2 Duane 104 
L6*Subyectse iF tah antene ete as é O20 ee 104 
Photostde:Process) erg ee : >i ea 

eRe (Rubbings from wood 
Gover, Tinings yr 4 cuts South Sea eS ake aes (eres O25: 2 ee 
203 107 


FOLDERS—For Classroom and Individual Use 


Sets 
A—Any Complete Subject—15c per sheet. 


Refer to Index for 
« \number of sheets 


B—Pencil Technique ae ae a (siete Teehaiue Char 
C—Design in Nature oe? eae . >) Assorted 
D—Primitive Design . ; an eS Assorted 
K—Design in Nature and Piniwem re Jn es An ee eS SO 
*F —Color Plates—2/ sheets 2 to ie ee 
NUMBER OF SHEETS IN FOLDER 
I.—35 Sheets note ners dpa ca Ge aga Nee ce aes $5.25 
II.—25 Sheets PE VET SR RNR: Pe Ane: am Nee la tle Se SES 
III.—15 Sheets RCE A ro es nesters 2:25 
*TV.—27 Sheets (Colas Plates) : : 4.25 


Orders cannot be filled for less than 15 sheets 


Sea Vettcoat 
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PES RS EL pearl St oat ‘ oe 

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Planoaraphic Printing 


LANOGRAPHIC PRINTING naturally falls under two heads. 

In one, and the oldest method, the print is made direct from 

stone to paper. This method is known as Lithography. ‘The 

other, the Offset Method, consists first of transferring the drawing 
to a rubber blanket and from there to paper. 77] 77] 77] 


The art of Lithography was invented in 1796 by Senefelder. 
Lithography, which means "stone writing,” is based upon the prin- 
ciple that grease or oil and water will not mix. Mr. Senefelder 
hit upon this method as the result of an accident—he discoverd 
a certain stone which has an equal affinity for both grease and 
water. After considerable experiment he demonstrated the fact 
that a drawing made upon the polished surface of this stone, with 
greasy ink or crayon, and the whole surface properly dampened, 
with water, then rolled with a greasy ink; that the fresh ink was 
attracted to the grease-crayon-drawing and-repelled from the rest 
of the stone. Then a sheet of paper, applied under pressure, 
would pick up this fresh ink, and a perfect print would be the 
result. Thus was made another great contribution to the art of 
printing. 77] 77 7] 77 77] 77] 77] 77] 


It will be noticed that in this method ihe print was taken direct 
from a drawing made upon a plane surface; consequently, as no 
projections or indentations occurred on the stone, it is called 
“Planographic” Printing, or printing from a plane surface. 7] 


Since the drawing is made direct upon the stone, a reproduction 
made by this method, will of necessity, reflect the technique of 
the lithographer, and at a loss to the producing artist. Ata later 
date, however, it was discovered that the artist could render his 
original drawing in lithographic pencil (grease pencil), in the size 
required for reproduction, and transfer it direct to the stone, thus 
permitting the retention of the original technique and crispness of 
his work. The artist in this instance often does his own retouching 
upon the stones. 77] a 77] 77] 77) 77] a 


OFFSET PRINTING 


Offset Printing is the 20th century application of planographic 
printing, and is a refinement of lithography. It derives its name 
from the fact that the print is made froma metal plate to a rubber 
blanket, and then to paper. All the fine delicacies of the original 
painting are retained and even enhanced by this method. a 


Color separation photographic negatives are made from the origi- 
nal and transfers made to large, thin, flexible sheets of zinc, 
which are first provided with a grained surface sufficiently coarse to 
hold the proper amount of moisture. A sheet of zinc is now placed 
around the surface of a cylinder and held in place with clamps. 


Dampening rollers and ink rollers supply the proper amount of ink 
and moisture to the printing cylinder, the printing cylinder is brought 


into contact with an offset cylinder (one covered with a rubber 
blanket) upon which the form is printed. The offset cylinder also runs in close 
contact with a third, or impression cylinder. A sheet of paper is now run 
between these two last mentioned cylinders, and the impression cylinder holds 
the paper firmly against the offset cylinder while it passes between them. The 
rubber blanket therefore transfers the print to the paper. Upwards of sixteen 
different colors and values can be run ona single reproduction in this manner. 


The very fact that the print is made from rubber to paper, instead of from 
metal to paper, and that-a paper with a natural surface, or even with a com- 
paratively rough surface can be used, the effect is softer and more pleasing. 


Mr. Rubel, of this city, about 20 years ago discovered this method by accident. 
In his work a misimpression was made upon a rubber blanket. His quick 
conception and creative genius in due time brought forth the Offset system. 


1 selected the six following plates, 11 47, 48, 49, 50 and Plates 1D 48, 49, as 
possibly the most suitable in the portfolio to show the offset method. And I 
believe that the reader will agree with me when | say that these plates have 
considerable merit, both as to the original conception and painting as well 
as the reproductions. In the reproduction of these plates the Regensteiner 
Corporation of Chicago have certainly displayed the common high standard 
of their work. They have produced an effect in five color offset that has a 
mark of superiority. 1 wantalso to thank the Regensteiner Corporation for much 
of the information regarding the different printing processes, as are related here. 


J. G. W. 


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RESEARCH CLASS 


ARTINSTITUTE 


“ATE in the school-yéar of 1925, Mr. D. C. Davies, Director 
I of the Field Musetim, decided to offer a~second Poster 
Prize. The contest was open to the second.ajear class in 
Research of the School of the Art Institute. The director 
immediately began to cast about to find some available source for 
securing the necessary prize money to cover the various awards. 


Mr.Stanley Field, President of the Field Museum, saw the advan- 
tage of such a plan and expressed a desire to furnish the required 
funds. Thus one hundred dollars was set aside for this purpose. 


The students were given the necessary data and required to select 
their own material from anywhere within the Museum, and make 
preliminary pencil sketches direct from the object. From these 
sketches poster designs were laid out, also in pencil, criticized 
and approved by the instructor, then finished incolor. The three 
consecutive steps as followed in building the finished posters are 
shown in the’ Portfolio. Sufficient time was allowed. in the contest 
to permit the student to put forth his best efforts. .. J 77] 


When the posters were finished and submitted to the judges, Mr. 
Field was so well pleased with the results that he raised the award 
from one-hundred to three hundred dollars, and the judges decid- 
ed to divide this sum equally between the students’ submitting the 
best six posters. The judges felt that the winning posters were 


‘equally well done, and the competitors so faithful in their work 


that it would be quite difficult to make a fair distinction between 
them J a a 77] 77) 77] 77] a @ 


The color harmony and composition.seemed quite professional, 
and | might say here that, possibly, one of the chief reasons for 
our success in obtaining such beautiful color effects may have lain 
in the fact that we followed the Munsell Color System. Those 
familiar with the Munsell colors will quite teadily recognize them 
in this work... @ ad 77] yh a 7) a a 


* 


‘Color System 


Plates Il. 47-48-49-50 and Plates IV. 48-49 were all rendered 
from the regular Munsell Tubes and Water Color Box. 1 have 
selected Plate ID. 49 as, perhaps, the best example to use in 
explaining the analogy of color harmony. It will be noticed that 
the poster, as a whole, is in grayed or slightly neutralized colors. 
This is effective from the artistic standpoint and lends itself nicely 
to a more certain means of producing color harmony. The bright 
or maxima colors are restricted to small areas and kept in the 
immediate foreground, while the more neutral colors are seen in 
the middle and distant background. 77) 77] 77) 77] 


The color scheme is based upon a split complement and an 
analogus group. The split complement group is Red, Blue and 
Green. These form the basis of a strong contrast in the foreground. 
The Blue-green is presented as an opposite color. Red in its 
maximum chroma is introduced in the flowers of the foreground. 
Red and its neighboring hue, yellow, are seen in varying degrees 
of mixture and form an interesting contrast to the cool colors of 
the background. White is introduced in small areas and adds life 
to the composition J 7) 77) 77] 77] 77] a 


The analogous group is Yellow, Yellow-red, Red, and Red-purple. 
The Blues and Purples of the birds in flight against the Yellow of 
the sky, form another split complement. Other subtleties are 


introduced to add interest and harmony. 77] 77) 77] 
Color should be thought of as music, and should never clash one 
with the other. 77] 77) v7) 77] 77] 77] 77) 


An analysis of the predominating hues in the poster shows that 
they can be described as follows: 


Red in center of flowers is Green in fringe of treesis - G5/3 
- - +» R4/10(or perhaps 4+/) Green in foreground is ~ G4/3-4 

Red in rest of flowers is - 8R5/6 Blue in birds’ heads and 

The dominant Redis - ~ R3/5 foregroundis - - - ~ = B4/3 


Yellow inskyis ~ ~ ~ 3U 7-/5  Red-purple in leaf of lower right- 
Yellow in field behind hillis 39 6-+-/4 hand corner is (very little RP) RP 3/3 
J. G. W. 


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NEWER SHOW ELABORATE FRET AND SCROLL WORK 

——HERMET !SLANDS, MELANESIA — 


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DESERT CACTUS POMEGRANATE 


RESEARCH 
MRWIURENS 


THE USE OF CTHE PHOTOSTAT IN CHE SCHOOLS 


Ml the great wealth of material at the Field Museum there are 
l many subjects that we hope to study during the year. In 
each of these subjects are definiie principles and certain 
information that the student should have in order te accomplish 
the most in the shortest period of time. With Research being 
practically a new subject in the curriculum of the schools, we 
found the library quite without material suitable for the proper 
stimulus in our work. It was therefore necessary for us to build 
up reference material of our own. Thus it became possible to 
retain a complete outline of the course of study of the pre- 
ceding year, which aided materially in the rapid progress of 
our classes. J 7) 77] 7] 77) 77] 77) 77] 


In this acute need for some convenient and economic means 
of reproduction The Huey Company of this city offered a valu 
able suggestion. The Photostat Process thus became our method 
of reproduction. By this method we are able to reproduce our 
work, at a nominal cost, in any sizes up to 18x24 inches on a 
single sheet. Inasmuch as our original drawings were made 
on 9x1l2-inch paper it seemed convenient to have our 
reproduction of the same size. These were not only made for 
my own reference but were also made for many of the individ- 
ual students. Large plates of the same were made on 18x22 
inch paper for classroom demonstration. The accompanying 
sheet shows photostat copies of four 9x12-inch plates andisa 
good example of a photostat print. a 77] 77 72) 


It can readily be seen that with such examples as these before 
the students, the instructor is materially aided in presenting a 
subject. The individual no longer tries to copy an object, but 
approaches it from an entirely different viewpoint— he searches 
for its structural principles, then drapes and models its well- 
proportioned patterns and forms in keeping with a basic plan. 


CThe Photostat 


lt seems quite unfair to the student, for the instructor to retain 
his original work as teference, for the succeeding class. Uet it 
is necessary that examples be carried over from year to year. 
The photostat seems to be the only legitimate means for this 
purpose, for here the instructor will soon build up a quantity of 
reliable reference, such as fits perfectly into his course of study. 
The photostat made this portfolio possible. It was completed 
and corrected by photostat before being sent to the press. J 


The professional artist is to some extent familiar with the use 


i 


i 
hd 


“y 


of the photostat in his work; it now remains for the professional 
tutor to discover its manifold service tothe educator. DO fF 


The posters on plates 11 51 and 53, ID 50 and D 39 were first 
laid in with pencil a8 a small sketch, photostated up to about 
18 inches in length, corrected, inked in as a line drawing, then 
bleached, thus leaving only the line renderings for reproduce 
tion. The colors were indicated in a tracing paper overlay. 


Every teacher of art should find the photostat a valuable asset 


in his work. J a F7] v7) 77) v7) @ 77) 


The photostat is simp!y a quick and easy method of phetographuy. 
‘The machine rests in a horizontal position, and has the appearance 
of a large bellows camera. The object to be photographed may 
hang directly in front of the lens, or it may rest on a horizontal, 
movable beard directly below the lens. This board may be 
raised or towered in order to make a large or small print. This, 
however, isthe usual method employed, the lens being equipped 
with a prism so as to reflect the image, from below, directly into 
the machine. The camera i$ equipped with a large magazine for 
holdingaroll of sensitized paper andacompartment fordevelep- 
ing and fixing. As the photographs are madé they are cut off, 
developed and fixed right in the machine, then when washed 
and dried are ready forus. @ a a a a 
J. G. W. 


ri | 
33 
ie 2 & 
i 
a3 
: 
} 


af TEER 


CThe Oh Mstat 


THE USE OF CHE PHOTOSTAT If CTHE SCHOOLS 


Nl the great wealth of material at the Field Museum there are 
l many subjects that we hope to study during the year. In 
each of these subjects are definite principles and certain 
information that the student should have in order to accomplish 
the most in the shortest period of time. With Research being 
practically a new subject in the curriculum of the schools, we 
found the library quite without material suitable for the proper 
stimulus in our work. lt was therefore necessary for us to build 
up reference material of our own. Thus it became possible to 
retain a complete outline of the course of study of the pree 
ceding year, which aided materially in the rapid progress of 
our classes. & 77) °7] 77) Jd 77) 77] a 


In this acute need for some convenient and economic means 
of reproduction The Huey Company of this city offered a valu- 
able suggestion. The Photostat Process thus became our method 
of reproduction. By this method we are able toreproduce our 
work, at a nominal cost, in any sizes up to 18x24 inches on a 
single sheet. Inasmuch as our original drawings were made 
on 9x12-inch paper it seemed convenient to have our 
reproduction of the same size. These were not only made for 
my own reference but were also made for many of the individ- 
ual students. Large plates of the same were made on 18x22- 
inch paper for classroom demonstration. The accompanying 
sheet shows photostat copies of four 9x12-inch plates andisa 
good example of a photostat print. 77] 77) 77] 7] 


It can readily be seen that with such examples as these before 
the students, the instructor is materially aided in presenting a 
subject. The individual no longer tries to copy an object, but 
approaches it from an entirely different viewpoint—he searches 
for its structural principles, then drapes and models its well- 
proportioned patterns and forms in keeping with a basic plan. 


NES: oar oe pan he te nes 


‘ 


See] 


ng, 


It seems quite unfair to the student, for the instructor to retain 
his original work as reference, for the succeeding class. Uet it 
is necessary that examples be carried over from year to year. 
The photostat seems to be the only legitimate means for this 
purpose, for here the instructor will soon build up a quantity of 
reliable reference, such as fits perfectly into his course of study. 
The photostat made this portfolio possible. It was completed 
and corrected by photostat before being sent to the press. J 


The professional artist is to some extent familiar with the use 
of the photostat in-his work; it now remains for the professional 
tutor to discover its manifold service tothe educator. DO Jf 


The posters on plates 11 51 and 53, 1D 50 and D 39 were first 
laid in with pencil as a small sketch, photostated up to about 
18 inches in length, corrected, inked in as a line drawing, then 
bleached, thus leaving only the line renderings for reproduc 
tion. The colors were indicated in a tracing paper overlay. 


Every teacher of art should find the photostat a valuable asset 
in his work. J 77] 77) a 77) 77) 77] 77] 


The photostat is simply a quick and easy method of photography. 
The machine rests ina horizontal position,and has the appearance 
of a large bellows camera. The obiect to be photographed may 
hang directly in front of the lens, or it may rest on a horizontal, 
movable board directly below the lens. This board may be 
taised or lowered in order to make a large or small print. This, 
however, is the usual method employed, the lens being equipped 
with a prism so as to reflect the image, from below, directly into 
the machine. The camera is equipped with a large magazine for 
holdingaroll of sensitized paper andacompartment fordevelop- 
ing and fixing. As the photographs are made they are cut off, 
developed and fixed right in the machine, then when washed 
and dried ate ready forus. 77) a a 77] 
J. G. W. 


‘ 


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